商品簡介
With skyrocketing crime rates and the appearance of a frightening trend toward social chaos in the 1970s, books, documentaries, and fiction films in the true crime genre tried to make sense of the Charles Manson crimes and the Gary Gilmore execution events. And in the 1980s and 1990s, true crime taught pop culture consumers about forensics, profiling, and highly technical aspects of criminology. We have thus now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers.
Through the suggestion that certain kinds of killers are monstrous or outside the realm of human morality, and through the perpetuation of the stranger-danger idea, the true crime aesthetic has both responded to and fostered our culture's fears. True crime is also the site of a dramatic confrontation with the concept of evil, and one of the few places in American public discourse where moral terms are used without any irony, and notions and definitions of evil are presented without ambiguity. When seen within its historical context, true crime emerges as a vibrant and meaningful strand of popular culture, one that is unfortunately devalued as lurid and meaningless pulp.
作者簡介
Jean Murley is Assistant Professor of English at Queensborough Community College, of the City University of New York (CUNY). She has published a review of "Natural Born Celebrities: Serial Killers in American Culture" for theJournal of Popular Culture, and an essay entitled "Ordinary Sinners and Moral Aliens: The Murder Narratives of Charles Brockden Brown and Edgar Allan Poe" inUnderstanding Evil: An Interdisciplinary Approach (2003), an anthology on contemporary understandings of evil.
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